Judge — April 18, 1885 — page 10: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

40 THE JUDGE. | ixious speculation. We -plot would be as un- 4 Iramatic school scheme ‘ a lesson in physiology, horticultare and | the public of much medicine in his popular kindergarten poem, | were afraid his The old stereotyped nursery” rhy tisfactory * Banbury Cross,” * Baby Bunting,” ete., | was. But we tied on this score—the wea thing of the past. Our little ones now | plot is all right. But the making up of the The Apple of Emerald Ue": — | scenes is—well, according to Delsarte prince is decidedly relaxed! Too tam 1superabundance of psendo-Delear- sm running through the whole per- forman But, for the new theatre and the setting of the new piece nothing but praise could be said. Its tones are mellow, its combinations in- descernibly blending, its form and propor- is MBO eoeUNY ‘lien {bio ihe trewasiick: ile vlivew tions rhythmical, “Nothing equal to it has Je of emerald ‘ue, the s and wet by the dew, One day, as John and his sister Sue Were taking a walk the orcbard thr: They spied this apple ¢ Them two perald ‘ue, Desrite the unusual numberof attractions Which brought down the | been seen in this country. “What Irving has during the past two weeks, Mlle. Theo has Peek-a:boo! done by stage detail, Mackaye has done by been charming to fuir sized andiences, night- architecture and accessor Whether the John took a bit supplementar: ly y tary in one ting shall be as complemen- 8 in the other remains to be at the Star. This the And then the tr Trouble the public—she is charmin ghtly, : seen, | htful. French without g too ares | renchy. If she could only It is Under the sed where the di Pew THE CITY CORRESPONDENT. sometimes an advantage to acomic opera star They planted Jolin and his sister Sue to be able to sing a little. And up to the angels their little souls flew— aa cee WHY SHE DOESN'T “GET THERE.” Adi From present deve And carol the t Let's hang of Wallack’s company there will be a though the real will be gone next at tl of the n The regular se 1 with Union Square t remarkable per- lace: ‘Sian Our dripping refu good imitation one in her y ‘Tn » that ever took place at any theatre, Robe, who is to be their leading lady, posseses Following is a complete libretto hesent a finely shaped head 1—large imitative A lady, evidently of high social standing, ; = Jpments we predict that \ PIT FINALE Ler tite Gul Wyeth y j j | When she crosses the lan stride, of deep emotion, lov not which — we ag lan’s mysterious, 1 age we sev a Tas At thay | Here's to the special who pu came in carrying a silk umb Vin the portrayal first drop of the curtain she went, out not or anger—it matter carry said silk take-’em-where-you-find- n hear Miss © ‘om. Being unattended, she waited near the nous i crossing for acar, A t touch on the The fancy of e« He writes of t mour of charity balls veh nations, Among the abode of grim tenement walls, only in a less positive declamatory sty shoulder, she indignantly turned — to | He'll tell you bow Henry and Terry did play; Miss Coghlan never fails to strike the same confront an with ‘overcoat thrown | "Tis all a rehash of the Heri next day underground tone Miss Robe s hastily. acro iad times forgets and bett and we her umbrel He'll tell you strawberries are now on the p soothed by a pleasant, natural tone. An umbrella Samaritan! What next? He took them all in—through a plate of Frencl Imitation at its best is the che: in trade of the artist. But if the dramatic A BEUTIPUL SETTING For Paste. State instinct isn oped enough in you It Mr. J Mackaye had only Hedin actors, and they needs must copy from others announced that his new original play with 4, ers they ooze from his fanciful pen in| with our very big men a column 0 «1, just make up your mind, —why, they should be riminating in the wsthetically suggestive title “Dako- Our special has pushed the quill just a bit blind. their choice of a subject a3 ‘a poor imitation lar,” was to be another rehash of the French bod thing is better than a good imita: novel which several play-wright plagiarists High liver? not much, for ah hhat's red. tion of a poor thing have already peeulated he would hav i f : lieved — Oft is the scribe’s supper ‘ere going to bed Miss Robe has much to work for. Asso. _ _ ciation with artists may overcome her un- conscious plagiarism of expr and give , her broader conception and stvle. At present, she is a fair repre: tive of the would-be climax actor—those that subordinate the ensemble to situations; the general to the particular; and as her situations lack strength, she fails to reach the summit of the climax. Her be cting is when she does not fry. is au! ou!” ano! In his Harvard address, Mr. Irving dwelt at length upon the use of exclamations. Strange that this artist should notice thes little waifs of expression, when the mass o our alleged actors are superior to such trifles. An instructor at the Lyceam School made the startling announcement that there are three stage exclamation: Eh! Ah! Oh! Three stage exclamations! ‘There are many as there are possible soun human voice. Exclamations are th dramatic part of our lan short route messengers of the fe DRAMA’S NURSERY MISSION, That the play is an educator cannot be denied. It has long been included in the curriculum of hionable Finishing Ins tutions, but Dixey strikes deeper. He gives comicbooks.com